Archive for August 28th, 2013

There was a period in my life when I was pretty sure I was going to be rich. Shortly after college, I got a job at a hedge fund in Manhattan that had an unusual hiring philosophy: it was eager to recruit recent Ivy League graduates with no previous financial experience—including those, like me, whose primary area of interest was the humanities—into roles that might seem, at first, like a strange fit. In particular, it placed a lot of writers, artists, and other creative types into operational and research positions, reasoning that they’d be able to attract smart, talented people if they offered them a good salary and the promise of being able to finish one’s play or opera outside of work. In the end, I spent close to four years there, trying to write fiction while also moving deeper into the financial world, first on the investor relations side and later in researching potential new funds and businesses. Eventually, I noticed that the ideal held out by the firm—of being an artist and a financial professional—didn’t really pan out: people tended to either put their creative dreams on hold to focus on their careers, or they quit. And as I’ve explained before, I ultimately chose the latter.

Needless to say, the situation at my old firm didn’t remain quite as rosy after my departure: the market crashed, the fund lost a fair amount of money, and it laid off many of the creative types it had hired in happier times. I’m not sure I could get a job there again now. And I have no regrets—although I’m still feeling the effects of the experience more than seven years later. Among other things, it gave me a sense of how money really works for the first time, and it quickly accustomed me to thinking of enormous sums of cash in casual ways, although there were still times when the amount of capital flowing in and out seemed absurd. (I’ll never forget the day when one of the firm’s partners paid for a personal investment in the fund with a handwritten personal check, drawn on a regular checking account, for a million dollars.) Not surprisingly, you can see the influence on my fiction, which returns repeatedly to financial themes. The Icon Thief largely takes place at an art hedge fund modeled in part on my former employer; in City of Exiles, we briefly glimpse an activist fund that will play a much larger role later in the series; and in Eternal Empire, we spend more time among the very wealthy themselves. Because this is a book about oligarchs.

For me, the most fascinating symbol of the new form of wealth, which concentrates staggering amounts of money in the hands of very few, is the megayacht. A yacht on the order of Larry Ellison’s Rising Sun or Paul Allen’s Octopus is literally the most expensive thing a private citizen can own: with price tags exceeding $200 million or more, they’re more costly than any form of real estate, and they can cost upward of $20 million per year simply to operate. I’ve had a curious fascination with these yachts for a long time, and once I realized that Eternal Empire was going to center on the figure of a Russian oligarch, I knew I’d have to put such a yacht into the story. Much of the second half of the novel takes place on a fictional yacht, the Rigden, whose dimensions would put it “not quite in the top ten of the largest yachts ever built,” as one of my characters puts it. Researching this material was a pleasure, and I spent many hours paging through yacht plans and specifications to build my massive ship in a bottle. But as seductive as the surface elements can be, I soon found that the Rigden, like any ship, was a natural focal point for larger symbolic and thematic concerns. A ship, whether it’s the Pequod or Katherine Anne Porter’s Ship of Fools, always seems to stand for something more, and mine was no exception.

In this case, it inevitably evolved into a symbol of one of my favorite themes: the limits of control. There’s a reason why so many suspense novels take place in environments of extreme wealth. Part of this is escapism, devolving at times into lifestyle porn; part of it is the sense that, as Balzac said, behind every great fortune lies a crime. Most of all, though, it simply takes one of the central precepts of the thriller—that for all the bulwarks we erect against danger and risk, we’re rarely in control of our own lives—to its logical conclusion. As examples from fiction and the daily news remind us, wealth alone is no barrier to misfortune, as both Anzor Archvadze in The Icon Thief and Mikhail Khodorkovsky in real life have discovered. And I think the reason I’m fascinated by the yachts of the wealthy is that they stand for the same thing as all ships: the human impulse to set our own resources against the unknown. Sometimes the result is the Eclipse; sometimes it’s the Titanic or the Costa Concordia. I won’t say what happens to the Rigden. But a megayacht, for all its glamor and power, is still insignificant compared to the ocean around it, or, as I put it at a crucial point in Eternal Empire: “A masterpiece of foresight and design surrounded on all sides by night.”